Now, a 300 question that's been bugging me for a while. The camera strap is off when I shoot with the 300 but really should be on when I switch to the 24-70, which is not that often. Anyone have a solution to this that doesn't involve threading the strap back on the camera, and works well?

I use the Black Rapid RS-7 and have two screws for that one. One on the foot on the lens (70-200mm) and one on the camera itself. In Sweden the separate screw is a bit expensive for just being a screw but it´s worth it =) It makes it very easy to change where I attach the strap when changing lenses. I really hate the original strap since I bought the Black Rapid. But maybe the 300mm is too expensive and heavy to be comfortable using together with the Black Rapid RS-7.

I use a different solution. Rather than screwing Blackrapid FasterR lugs into body and lens, I have the lug attached (semi-permanently, with Loctite Blue) to a small Kirk 1" Arca-Swiss type clamp. Since I have lens plates or replacement feet on all collared lenses, as well as an L-bracket for the body, that enables me to attach the Blackrapid strap wherever I want, switching it around very easily.

Now, a 300 question that's been bugging me for a while. The camera strap is off when I shoot with the 300 but really should be on when I switch to the 24-70, which is not that often. Anyone have a solution to this that doesn't involve threading the strap back on the camera, and works well?

I use the Black Rapid RS-7 and have two screws for that one. One on the foot on the lens (70-200mm) and one on the camera itself. In Sweden the separate screw is a bit expensive for just being a screw but it´s worth it =) It makes it very easy to change where I attach the strap when changing lenses. I really hate the original strap since I bought the Black Rapid. But maybe the 300mm is too expensive and heavy to be comfortable using together with the Black Rapid RS-7.

I use a different solution. Rather than screwing Blackrapid FasterR lugs into body and lens, I have the lug attached (semi-permanently, with Loctite Blue) to a small Kirk 1" Arca-Swiss type clamp. Since I have lens plates or replacement feet on all collared lenses, as well as an L-bracket for the body, that enables me to attach the Blackrapid strap wherever I want, switching it around very easily.

I use a different solution. Rather than screwing Blackrapid FasterR lugs into body and lens, I have the lug attached (semi-permanently, with Loctite Blue) to a small Kirk 1" Arca-Swiss type clamp. Since I have lens plates or replacement feet on all collared lenses, as well as an L-bracket for the body, that enables me to attach the Blackrapid strap wherever I want, switching it around very easily.

I read Neuro's solution sometime ago on another thread re the same subject, I basically did the same, but used the RRS Lever Clamp attached to the Black Rapid Strap, using the locktite. I have RRS replacement feet on all my Whites, and use Wimberley Plates on the 70-200 & other lenses, I've been really happy with this solution, for extra comfort/safety you can also attach a separate short strap through the loop of the Black Rapid and attach to the L Plate.

« Last Edit: December 17, 2013, 08:02:23 PM by eml58 »

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The only thing necessary for the triumph of evil is for good men to do nothing

I spent the last three evenings practising this lens on the fashion shows in the local mall (they run all week).

Still trying to get to understand how to set up the 5D3 AF system as I can't get it to focus consistently - these models aren't exactly moving like a Peregrine falcon in full dive, and I'm not even getting a keeper rate over 30%.

Set Case 1, 61-point automatic selection AF, and set the initial AF point to where the model's face will appear when she walks out on stage. Pre-focus in that area (you can pre-set it on the lens), wait for the model, with your finger on the shutter and thumb on the (back button) AF button. When the model enters the frame, lock focus on her face, WAIT FOR THE RED LIGHT CONFIRMATION, and the fire away in high (or maybe better, low) speed drive mode.

I haven't shot runway in many years, but your other option (the only option I had back in the day) is to use one-shot AF and hit the key moments of the model's walk, stop, turn, and any other special moments (like a look back or jacket over the shoulder).

Set Case 1, 61-point automatic selection AF, and set the initial AF point to where the model's face will appear when she walks out on stage. Pre-focus in that area (you can pre-set it on the lens), wait for the model, with your finger on the shutter and thumb on the (back button) AF button. When the model enters the frame, lock focus on her face, WAIT FOR THE RED LIGHT CONFIRMATION, and the fire away in high (or maybe better, low) speed drive mode.

I haven't shot runway in many years, but your other option (the only option I had back in the day) is to use one-shot AF and hit the key moments of the model's walk, stop, turn, and any other special moments (like a look back or jacket over the shoulder).

Set Case 1, 61-point automatic selection AF, and set the initial AF point to where the model's face will appear when she walks out on stage. Pre-focus in that area (you can pre-set it on the lens), wait for the model, with your finger on the shutter and thumb on the (back button) AF button. When the model enters the frame, lock focus on her face, WAIT FOR THE RED LIGHT CONFIRMATION, and the fire away in high (or maybe better, low) speed drive mode.

I haven't shot runway in many years, but your other option (the only option I had back in the day) is to use one-shot AF and hit the key moments of the model's walk, stop, turn, and any other special moments (like a look back or jacket over the shoulder).

If he was shooting with a wider lens, I would agree, but given that he's using the 300mm, he's going to fill the frame pretty quickly and zone AF might be a bit limiting from a compositional standpoint.

Recently got the 300 f/2.8L IS II USM and loving it. Given the battleship construction; weight relative to what it is; and sports-centric modes and features, I have no regrets making a capital investment in this lens. This thing is a thoroughbred!

I use it primarily for motorsports of all types and tracks. Sometimes it can be too close (NHRA top fuel dragsters tend to be long in the frame) and I got to run back to the 70-200.. But for pure adrenaline-infused shots, its the go-to.

I also use it with the TC-III 1.4 and 2.0. I find very little IQ loss with the 2.0 - it is well matched and makes a fine wildlife lens. I did try stacking with the 12mm extension tube - then it goes soft.

But here is a question.... Exposure Compensation creep on a 5Dm3 with the 300. I set everything up, running sometimes in Av or Tv modes - and after a handful of shots I see the exposure comp go up by a few stops. And its not just reporting - the shots go over. I found myself really having to monitor and reset back to zero. My other lenses do not cause the 5D to exhibit this behavior.

But here is a question.... Exposure Compensation creep on a 5Dm3 with the 300. I set everything up, running sometimes in Av or Tv modes - and after a handful of shots I see the exposure comp go up by a few stops. And its not just reporting - the shots go over. I found myself really having to monitor and reset back to zero. My other lenses do not cause the 5D to exhibit this behavior.

Any ideas?

Congrats on the new lens and that is an odd thing, but I'm not sure I understand what's happening. Are you saying that the exposure compensation setting is going up by itself? I don't think that's possible - maybe you're bumping it because of the way you're holding the lens, which might also explain why it doesn't happen with other, smaller lenses. Maybe I'm not understanding your question, though.

But here is a question.... Exposure Compensation creep on a 5Dm3 with the 300. I set everything up, running sometimes in Av or Tv modes - and after a handful of shots I see the exposure comp go up by a few stops. And its not just reporting - the shots go over. I found myself really having to monitor and reset back to zero. My other lenses do not cause the 5D to exhibit this behavior.

Any ideas?

Congrats on the new lens and that is an odd thing, but I'm not sure I understand what's happening. Are you saying that the exposure compensation setting is going up by itself? I don't think that's possible - maybe you're bumping it because of the way you're holding the lens, which might also explain why it doesn't happen with other, smaller lenses. Maybe I'm not understanding your question, though.

If he was shooting with a wider lens, I would agree, but given that he's using the 300mm, he's going to fill the frame pretty quickly and zone AF might be a bit limiting from a compositional standpoint.

Call me backwards, old fashioned or whatever you like, but I don't really trust the idea of the 61 pt auto point selection. But as I've said, I'll give the 1/5/9/61pt modes the test tonight.

Zone AF should be fine, as I can just put the top third in as zone (I'm shooting exclusively in portrait mode at this venue with the 300mm) and this aligns up with the upper body/face of the models as they walk down the runway.

If he was shooting with a wider lens, I would agree, but given that he's using the 300mm, he's going to fill the frame pretty quickly and zone AF might be a bit limiting from a compositional standpoint.

Call me backwards, old fashioned or whatever you like, but I don't really trust the idea of the 61 pt auto point selection. But as I've said, I'll give the 1/5/9/61pt modes the test tonight.

Zone AF should be fine, as I can just put the top third in as zone (I'm shooting exclusively in portrait mode at this venue with the 300mm) and this aligns up with the upper body/face of the models as they walk down the runway.

Call me backwards, old fashioned or whatever you like, but I don't really trust the idea of the 61 pt auto point selection.

You're none of those things and I absolutely hate 61-pt for One-Shot AF because it always seems to select the wrong point. For AI Servo, however, you get to select the initial point, and once you place that on the subject, lock on, and begin tracking, the subject is now tracked throughout the entire AF sensor, not just the zone.

The difference between auto selection in One-Shot and manual pre-selection in AI Servo is the key here.

(I will note that the auto selected points in One-Shot AF work much better in the 1D X with its phase AF face detection)

But here is a question.... Exposure Compensation creep on a 5Dm3 with the 300. I set everything up, running sometimes in Av or Tv modes - and after a handful of shots I see the exposure comp go up by a few stops. And its not just reporting - the shots go over. I found myself really having to monitor and reset back to zero. My other lenses do not cause the 5D to exhibit this behavior.

Any ideas?

Congrats on the new lens and that is an odd thing, but I'm not sure I understand what's happening. Are you saying that the exposure compensation setting is going up by itself? I don't think that's possible - maybe you're bumping it because of the way you're holding the lens, which might also explain why it doesn't happen with other, smaller lenses. Maybe I'm not understanding your question, though.